The National, I Am Easy to Find | Album Review

The National return with their eighth studio album, I Am Easy to Find, a respectable and intriguing affair, even if it runs too long.   

Keeping it 100, it was surprising to see The National return so soon.  After dropping the brilliant Sleep Well Beast in September 2017, and ultimately winning a Grammy, it seemed that Matt Berninger and company might take some addition time off.  Now, not even two years later, they’re back with quite an interesting project in their eighth studio album, I Am Easy to Find.  And, I Am Easy to Find isn’t short – it clocks in at over an hour! While the album is a standalone project, there is also a short film of the same title, directed by Mike Mills and starring Academy Award winner Alicia Vikander.  If nothing else, I am Easy to Find is interesting.

“You Had Your Soul with You”

“You had your soul with you, I was in no mood…” Promo single “You Had Your Soul with You” commences uniquely with a couple of measures of biting, glitching electronic sounds, before gaining stability with a full-fledged rock groove.  Beyond the groove, “You Had Your Soul with You” evolves into more of a traditional sound, while still incorporating some creative, accentuating cues. Matt Berninger sounds as compelling as ever, diving right into the first verse with his distinct baritone, backed by a busy backdrop incorporating ample rhythm between the drums, guitars and strings. Regarding the form of the record, there is no true chorus – only verses (three).  Notably, “You Had Your Soul with You” features guest vocals by Gail Ann Dorsey.  On the third verse, she sings two lines of lyrics as a solo, before being joined by Berninger. All in all, “You Had Your Soul with You” is a marvelous start for The National.

“But I’m learning to lie here in the quiet light,” Matt Berninger sings on the chorus of “Quiet Light,” continuing, “While I watch the sky go from black to grey.” Naturally, “Quiet Light” has a difficult act to follow but The National keeps things consistently rolling.   The sound of “Quiet Light” is arguably it’s biggest selling point, particularly the orchestration with the gorgeous strings.  Furthermore, Berninger continues to wow with his instrument. “Roman Holiday” once more invites collaboration courtesy of Gail Ann Dorsey on the chorus and bridge sections.  The blend and contrast of their respective voices is quite lovely.  As far as the production is concerned, it’s intriguing, if somewhat cool and low-key at the same time.  Perhaps “Roman Holiday” doesn’t quite scream ‘alternative banger’ but it’s certainly worthwhile.

“Oblivions”

The collaborative moments of I Am Easy to Find continue on “Oblivions” where Mina Tindle is featured liberally without being officially credited.  Like the songs that precede, strings play a key role in the success of the production.  Furthermore, the script is pretty similar with plenty of rhythm as a driving force, yet there still a sense of control – nothing gets overblown or the slightest bit overwrought.  Some of those signature glitchy moments The National incorporate in appear on the follow-up “The Pull of You.”  Rhythm continues to be a factor, while Lisa Hannigan takes over the reins as the uncredited female voice.  Worth nothing, Berninger provides more grit and assertiveness in regard to his vocals, at least on the chorus.  Also, keeping things interesting, there are a couple of interludes that definitely give “The Pull of You” some kind of vibe.

“Hey Rosey, I think I know just what the feeling is.” Gail Ann Dorsey returns on “Hey Rosey,” drawing first blood singing the first verse.  Compared to “You Had Your Soul with You,” she has a much larger role, singing with Berninger throughout the remainder of the record.  Unsurprisingly, one of the crème de la crème moments from I Am Easy to Find is title track, “I Am Easy to Find.” Kate Stables harmonizes lovely with Berninger, continuing the collaborative spirit of the LP.  Although the tempo is on the slower side of the metronome, “I Am Easy to Find” is absolutely gorgeous, possessing a haunting quality.  One of the best moments regarding songwriting comes by way of the bridge: “There’s a million little battles that I’m never gonna win anyway / I’m still waiting for you every night with ticker tape, ticker tape.”

“Her Father in the Pool”

Brief instrumental “Her Father in the Pool” precedes “Where is Her Head,” which adds vocals from Aaron Dessner, Eve Owens, and Gail Ann Dorsey once more.  Interesting, after an electrifying start, the listener is treated to a lengthy, non-traditional chorus.  There’s an experimental spirit about “Where is Her Head,” which makes it intriguing.  An unexpected late entrance by Berninger also keeps things interesting – that baritone is one-of-kind of course.  Compared to other songs, “Where is Her Head” is much busier in sound. 

Matt Berninger handles the majority of “Not in Kansas” himself – this is a selling point.  Berninger sounds fantastic, making numerous pop cultural references including The Godfather films, The Strokes, Annette Benning, and Robert Flack, as well as referencing the crazy times – “My shadow’s getting shorter / I’m a child at the border.” Even with Matt firmly in control, one of the best moments from this thoughtfully-penned number, not to mention I Am Easy to Find, arrives courtesy of Dorsey, Hannigan, and Stables performing a totally contrasting third verse:

“If the sadness of life makes you tired

And the failures of man make you sigh

You can look to the time soon arriving

When this noble experiment

Winds down and calls it a day.”

“So Far So Fast”

Lisa Hannigan is in charge early-on on the six-and-a-half-minute-long “So Far So Fast.” Here, the minimalist, rhythmic electronic production touches stand out. So does Hannigan’s tone actually. Berninger enters into the picture on the third and final verse, with Hannigan by his side.  The National gets a nice lift with an outro performed by the Brooklyn Youth Chorus (“I get so far, so fast”). Speaking of the Brooklyn Youth Chorus, they continue the ‘soundtrack’ vibe on “Dust Swirls in Strange Light,” a much shorter record.  Berninger is missing in action here, but it sounds very much like a record conceived by the Grammy-winning alternative band.  Interestingly, at this point of I Am Easy to Find, it seems as if things are growing more left of center.

There’s nothing unlucky about the 13^th track, “Hairpin Turns.”  The vocal arrangement and production is quite nice here, another predominate Berninger feature.  Still, there are appearances by Gail Ann Dorsey, Kate Stables, and Mina Tindle.

“Rylan”

“Rylan, you should try to get some sun / There’s a little bit of hell in everyone.” The appearance of “Rylan” sort of speaks to the fact that I Am Easy to Find is ‘all of the place’ as opposed to cohesive.  The rare cut, nearly a decade old, making its first appearance on a studio album now.  The results are appealing and compared to some of the more ‘experimental’ numbers, “Rylan” is a bit more straightforward.

A second instrumental, the enigmatic “Underwater,” precedes the final cut, “Light Years.” “Light Years” is a lovely coda for I Am Easy to Find, featuring piano, strings, and of course, that baritone.

Final Thoughts

So, how does I Am Easy to Find stack up? There’s plenty to like and appreciate about the new album by The National.  Berninger sounds like a champ as always, and he works well collaborating with female vocalist.  The production and overall sound throughout the affair are also worth noting.  That said, I Am Easy to Find is too long and doesn’t quite reach the same elite level of Sleep Well Beast.  Maybe it’s the lack of cohesiveness – the ‘soundtrack’ vibe is perceptible – even if you appreciate just about everything the band does here.

Gems: “You Had Your Soul with You,” “Quiet Light,” “Roman Holiday,” “I Am Easy to Find,” “Not in Kansas” & “Rylan”

The National • I Am Easy to Find • 4AD • Release: 5.17.19

Photo Credit: 4AD